Tijolos, Afeto e Performatividade Cuier na Internet: Corpos dissidentes e as dramaturgias da precariedade em Devir

Abstract

The present research has YouTube as a space that allows us to think about the importance of creating and reformulating values. Thus, the investigation of the effects, narratives, and discourses that are generated by the production of queer video performances, based on the culture of fans, and posted in this media environment, claims a possible “Dramaturgy of precariousness in Becoming”, always updated by affective and performative references and their consequent articulations in the context of the internet. The chosen artists for this study are Saullo Berck from the city of Barbalha (CE) and Royce Cherdan Lee from the city of Cebu (Philippines). In their video performances, issues related to the Image; to the Body; to the Affections; to the Topos are observed, and the perception of its connections between representational visibility and political power. Both artists have a vast production that is constantly being resized. They work with improvisation to create their video performances and make use of what they have in their homes, in the do-it-yourself style, already so established as a practice on YouTube. The videos by Saullo Berck and Royce Cherdan Lee demonstrate the affective, emotional, and habitual engagement of pop culture narratives with their target audience. There are two methodologies that guide this research, namely: virtual ethnography, considering the sharing platform YouTube, as an environment in which video performances are broadcast. Autoethnography and Performative Writing as thesis writing procedures, which put the researcher in self-assessment of their experiences, evoking worlds of memory, pleasure, and sensations to operate metaphorically and then observe the field studied. In this sense, Performative Writing makes it possible to understand written text also as a scene, as a performance. With this methodological thought, this research takes an interpretive and qualitative approach to the work of youtubers aiming at the production of knowledge in Performing Arts from four conceptual categories, they are: Body, Affection, Topos, and Action. It is observed that interpretive research is fundamental to understand these artistic products and their specificities, as well as the theoretical horizon with authors as KATZ & GREINER, 2005; AGAMBEN 1999; MUÑOZ 1999, 2009; BUTLER, 2020 between others is organized in an attempt to contribute and guide so that all the information that is necessary during the process is articulated from a complex, seductive, fast, attractive reality and be confronted and presented, adding knowledge to the field of studies of Performing Arts.